The Essential Max Ernst

Fülszöveg

About this book
Uwe M. Schneede
For any proper understanding of twentieth-century art, IVlax Ernst is essential. No one picture or series of pictures of this, the greatest magician of all the Surrealists, can be taken in isolation as fully representative of the multiplicity of ideas he explored. But in more than 400 illustrations in this book, combined with historical and critical commentaries by Uwe Schneede, we can unravel the distinctive marks of his long and complex evolution: great innovations in technique - in 1919 collage and rubbing, in 1925 frottage and grattage, in 1940 decalcomania, in 1942 drip painting; thematic inventiveness, especially in the years 1925-40; introspective interludes, seen in such works as Design for a Manifesto (1920) and Paintings for Young People (1940); and astonishing climactic points, single masterpieces central to the history of twentieth-century art, such as The Elephant of the Celebes, Oedipus Rex and The Robing of the Bride. His work... Tovább

Fülszöveg

About this book
Uwe M. Schneede
For any proper understanding of twentieth-century art, IVlax Ernst is essential. No one picture or series of pictures of this, the greatest magician of all the Surrealists, can be taken in isolation as fully representative of the multiplicity of ideas he explored. But in more than 400 illustrations in this book, combined with historical and critical commentaries by Uwe Schneede, we can unravel the distinctive marks of his long and complex evolution: great innovations in technique - in 1919 collage and rubbing, in 1925 frottage and grattage, in 1940 decalcomania, in 1942 drip painting; thematic inventiveness, especially in the years 1925-40; introspective interludes, seen in such works as Design for a Manifesto (1920) and Paintings for Young People (1940); and astonishing climactic points, single masterpieces central to the history of twentieth-century art, such as The Elephant of the Celebes, Oedipus Rex and The Robing of the Bride. His work evokes, with uncanny accuracy, the hideous premonitions of the 1930s, the inexorable power of sexuality, and the secret life (reflected in the human mind) of inanimate nature. Max Ernst has never been at rest, never quite predictable, even in the later, sunnier days of his long life. In his own words, 'the fact that he has succeeded in not finding himself is regarded by Max Ernst as his only "achievement" '. The works of art that have resulted from this strange non-quest are the subject of this absorbing survey.
is Director of the Württembergischer Kunstverein in Stuttgart. He graduated in 1965 from Kiel University where he studied Dutch painting and subsequently did a year's research in the Hague. In 1967 he became Assistant in the Städtische Kunsthalle in Düsseldorf and a year later took over the leadership of the Württembergischer Kunstverein. There in 1970 he organized a major retrospective exhibition of the works of Max Ernst.
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